Sentences with phrase «few gallery goers»

August in NYC is not typically the time to see great new art, as galleries tend to schedule group shows in order not to waste their A material on the few gallery goers left in town instead of summering in the Hamptons.

Not exact matches

While a few established galleries in River North have gone bankrupt, some 30 scrappy young galleries remain in Wicker Park, double the number that existed in 1992.

This was because I took a few photos of outfits for ModCloth's Style Gallery and they seemed to go over well on the site, and I really enjoyed taking the photos and putting the outfits together.

A few weeks back I went to Paris gallery to get a full coverage foundation.

after leaving fiona, we decided to catch the a boat to go to a few art galleries on a neighboring island which seemed to be much quieter and definitely more relaxing.

When he came home from work I -LCB- we -RCB- told him I went to a gallery a few towns over & just feel in love with the art.

Go back and troll a few of her favourite hangouts, in this case a gallery of Kate Moss photographs, which in Richard Curtis's Britain's is clearly the thing everyone simply must have an opinion about («the important thing is the sense of history»), the same way everyone in Annie Hall had an opinion about modern art.

You can go to the gallery to take a look to a few photos.

What was once a few city blocks of food - processing warehouses, is now an area that has been revitalized as a go to place for all things hip; eateries such as The Lark, microbreweries, tasting rooms, art galleries, museums and some renovated hotels are found in the Funk Zone.

Everyone loves to go shopping on holidays to see if they can pick up a unique item to remind them of their holiday in Palm Cove and Tropical North Queensland and on the Palm Cove beachfront Esplanade you have quite a few shops to browse that have great little souvenirs and knick knacks, boutiques with resort style clothing for ladies, men and children, art galleries and jewellery store.

If you are going to show with a gallery, there are a few easy steps you can take to make the relationship successful so you can get as much reward from it as possible.

A similar spirit will infuse goings - on at the museum over the next few months, the organizers say, so look out for the Artist Experimenters in the galleries.

The gallery continues, «In his essay for the exhibition catalogue, William Agee describes Hofmann as going against the grain of the artistic canon of the day; «His art was too big, too bold, to be encapsulated in a few years after 1945, the years we generally identify as the heyday of abstract expressionism.»

Few collectors of emerging artists devote as much time, energy, and resources to ferreting out the cutting - edge as Michael and Susan Hort, who trawl the nooks and crannies of galleries and art fairs to find work by up - and - comers that catch their eye — and who often, with their support, go on to widespread renown.

It was a big topic then — the mainstream galleries were conceptual / Minimal, and there were a few galleries showing photorealism, but you weren't even allowed to talk about going there.

Emblematic of the latter, John Alexander recently spent a few days at Rice University working alongside Patrick Masterson, master printer at Burning Bones Press; Rice Professor Karin Broker; and Patrick Palmer, director of the Museum of Fine Arts, Houston's Glassell School of Art, to create a series of monotypes that go on view in May at McClain Gallery.

Under new curator Clara M. Kim, a few trends have emerged among the 15 participating galleries: firstly, reappraisals of African - American artists later in life, among them abstract painter Jack Whitten (Alexander Gray Associates); secondly, «Global Pop», a nod to Tate Modern's autumn show «The World Goes Pop» (17 September — 24 January 2016), with Brazilian and Japanese Pop artists, such as Keiichi Tanaami at the stand of Tokyo - based Nanzuka.

«Made of glazed and fired clay, Rosen's primary medium, and not more than a few feet high... the sculptures seem to have neither fixed contours nor stable shape; even their scale appears to shift as you look... not so much covered with as compounded of hundreds of writhing, snakelike elements, they are variously volcanic, beastly, catastrophic and unnervingly funny, suggesting things going terribly wrong, but not yet irreversibly...» Nancy Princenthal Rosen's work has been in many solo shows in museums, commercial galleries and non-profit spaces.

Gabe Boylan is a rara avis and friend (he deejayed a storied party for the gallery's first December invitational a few years back,) and even the most objective viewer will agree that this piece trumps the New York Times book review as far as dispersible critique goes.

A few weeks after winning the Art Fund Prize for Museum of the Year 2013 we caught up with the project leader responsible for the gallery's remarkable transformation to find out how they plan on spending the money and where it all went right.

By the end of that inaugural fair, there were many galleries happy with the sales that occurred over the course of the weekend and few grumblings from others, some of which had brought huge, expensive secondary market work that went unsold.

While his galleries in New York and now Hong Kong go a long way towards satisfying this desire in the realm of art, few restaurants can satisfy his appetite.

1995 Cotter, Holland, Beneath the Barrage, The Modern's Little Show, The New York Times, April 7, p. C27 Hainley, Bruce Next to Nothing: The Art of Tom Friedman, Artforum, November, pp. 4 - 5, pp. 73 - 77 Kastner, Jeffrey, lo - fo, Frieze, September / October, pp. 72 - 73 Kim Levin, Choices, The Village Voice, May 2, p. 11 Mitchell, Charles Dee, «Critical Mass»: More Than Meets the Eye, Dallas Morning News, February 3 Narbutas, Siaurys, Modernus Menas Padeda Atlaidziau Zvelgti I Pasauli, Lietuvos Rytui, August Rich, Charles, At MoMA: A «Mad» Muse, The Hartford Courant, April 1 Schjeldahl, Peter, Struggle and Flight, The Village Voice, April 18, p. 79 1994 Connors, Thomas, Evanston Art Center, New Art Examiner, May Green, David, Doors of Perception, Burelle's, May, p. 18, p. 23 Mollica, Franco, Tema Celeste, Autumn, p. 64 Perretta, Gabriele, Flash Art (Italian edition), Summer Romano, Gianni, Tom Friedman, Zoom, no. 12 Romano, Gianni, In and Out Liquid Architectures (Through a Few Objects, Temporale, no. 31, pp. 34 - 37 Romano, Gianni, Interactive Child, Arquebuse, May, pp. 24 - 25 Tager, Alisa, Emerging Master of Metamorphosis, The Los Angeles Times, May 3, p. F1, p. F8 Trione, Vincenzo, De Soto, Ulisside del Bello, Il Mattino, May 27 1993 Artner, Alan, Sharp Conceptual Show Dares to be Different, The Chicago Tribune, January 22, section 7, p. 56 Auer, James, There's No More Than a Hairbreath Between Art, Reality in This Exhibit, Milwaukee Journal, January 17 Blair, Dike, review, Flash Art, November / December, pp. 112 - 114 Flynn, Patrick J.B. review, Hair, Artpaper, February Heartney, Eleanor, New York, Dans les Galeries, Art Press, October, pp. 24 - 28 Humphrey, David, New York Fax, Art issues, May / June, pp. 32 - 33 Levin, Kim, Choices, The Village Voice, February 23, p. 65 Lillington, David, Times, Time Out, June 16 Lillington, David, Times, Metropolis M, Winter, pp. 47 - 49 Nesbitt, Lois, Artforum, Summer, pp. 111 - 112 Paine, Janice T. Hair Pieces: Exhibition Worth Combing, Mikwaukee Sentinel, January 8, p. 8D Shepley, Carol Ferring, Tom Friedman Shapes Art Out of Everyday Things, St. Louis Post - Dispatch, January 14, p. 3E Southworth, Linda, An Extraordinary Exhibition at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 102

This really remarkable display, which will go down in N. Y.'s art history as one of the few events — for there is a wide distinction between incidents and events, in said history — and which has already excited, not only the galleries, studios and the art public, but even the larger public of the Metropolis which, although perhaps comparatively ignorant on the subject of art, is always athirst for a new sensation — is like a «bomb from the blue & quot; in the artistic camp of American painters and sculptors.

Encountering Michelle Segre's sculptures in Rosenwald - Wolf Gallery at the University of the Arts is like going to an opening and finding yourself in the presence of a few eccentric fashionistas who clearly went through their closets (and probably their kitchens and bathrooms) to come up with head - turning outfits.

On the one hand, there are few galleries as dependably smart about the art they present as Fraenkel, which signaled its commitment to the subject by investing in a lavish, 464 - page book to go along with the show.

Fewer artists may have participated last weekend because while Bushwick Open Studios accepted everyone from street artists to galleries, «GO studios were focused 100 percent on studios,» said neighborhood coordinator Sinelnikova, who also co-organized this year's Bushwick Open Studios.

«This is an astonishing work, which relates directly to the National Gallery's holdings of 19th - century European landscape paintings... At the same time, it is highly unconventional in its conception and execution... It also responds to new impetuses, and looks ahead to the anguished Northern Expressionism which is going to flourish a few decades later.»

In the space of very few years had gone from from selling drawings for $ 50 to selling out his first solo exhibition at New York's Annina Nosei gallery, earning $ 250,000.

And while it could be argued that the dazzling boom and bust of a few 26 - year - old white male skateboarders - cum - abstract - painters isn't representative of thousands of other emerging artists, the spectacular market failure of that one, tiny group had a much broader cooling effect on the market: With collectors suddenly questioning the value of their not - insignificant investments (no matter how rich you are, watching your $ 100,000 painting go to $ 20,000 in a few months has to be unpleasant), a crisis of confidence resulted in some very good galleries going under.

«I think it's going to be quite different in the respect that it will be done on a larger scale, have fewer exhibitions and a combination of selling and non-selling exhibitions,» said Schimmel, who served as MOCA's chief curator from 1990 until his controversial resignation last summer and has never before worked in a commercial gallery setting.

The Lower East Side had an unusually robust sampling of painting and sculpture by rising talents on display, announcing a few names that we're going to hear more from down the line — including the new gallery Chapter NY, which debuted with a very strong show by the young artist Sam Anderson.

We were lucky enough to have a few great pieces by the Brothers at our 20th Anniversary show at Jonathan LeVine Gallery this past May, and we love the direction that the 2x cover artists have gone with their new work.

And yet, a scant few do get out, and try to see art though most of the galleries have gone on vacation.

A few weeks ago I went to Chelsea to see Robert Melee's show at Andrew Kreps Gallery.

A few years ago we went to the 798 Photo Gallery of modern art in Beijing's fashionable 798 Art Zone, located in Dashanzi, Chaoyang District of Beijing... [more]

A few years ago we went to the 798 Photo Gallery of modern art in Beijing's fashionable 798 Art Zone, located in Dashanzi, Chaoyang District of Beijing, which houses a thriving artistic community.